Le temps qui reste (2005)

Directed by: François Ozon | 85 minutes | drama | Actors: Melvil Poupaud, Jeanne Moreau, Valeria Bruni-Tedeschi, Daniel Duval, Marie Rivière, Christian Sengewald, Louise-Anne Hippeau, Henri de Lorme, Walter Pagano, Ugo Soussan Trabelsi

“Just a perfect day, problems all left alone. We can do this on our own, it’s such fun.” Just an excerpt from Lou Reed’s ‘Perfect Day’, which fits beautifully with the theme of ‘Le temps qui reste’, the latest feature film by French director François Ozon. Because although Romain is living a successful life in every way, he has only three months to live. And he does it all on his own.

The difficult relationship with his family makes it impossible for Romain to discuss his illness with them. Angry, sad and distraught at the same time, he deliberately confronts his sister Sophie. To his family and colleagues, he remains the same arrogant and selfish fashion photographer, but he lives in the knowledge that nothing makes sense anymore. And it is precisely the fact that he is a photographer that makes this visible. Instead of photographing hip models and doing a report in Tokyo, he increasingly takes his camera to the park to take pictures of ordinary people enjoying life. Except for his sister’s children, because they ‘have the same bastard as her’.

When he breaks the relationship with his friend, he leaves for his grandmother. She seems to him to be the only person with whom he can share his secret. The good bond between Romain and his grandmother is beautifully expressed by Melvil Poupaud and Jeanne Moreau. In addition to deep and serious conversations about life and death, they can laugh together about the state they both find themselves in. On his departure, Romain receives a bunch of flowers from his grandmother, which Ozon has provided with a perhaps somewhat obvious symbolism: as time passes, the flowers sag and lose their beautiful colors. As well as Roman.

But as cliché as the flowers are, the twist in the story is so surprising. Because after a second meeting with a waitress in a roadside restaurant, she simply asks him whether he can make her pregnant. He refuses at first, but he doesn’t mind. When he receives a letter from his sister in which she tries to take the first step, he realizes that he still has a lot to do: make amends with his family and rekindle the dream of a couple in love but barren. Yes yes yes, we know it now. You don’t have to see the film for the plot, it’s too predictable for that. But its effect is phenomenal.

Ozone tells its story through symbolism and a beautiful, minimalist style. He gives you the tools to construct the story yourself. Flashbacks show that Romain cares deeply about his sister. He will also take pictures of her children, if only to indicate that he still wants to make up for it in time. He spends his last day on the beach, where he is confronted again with himself and his sister at a young age. Maybe the kids look like it, maybe it’s his imagination, it doesn’t matter. Because the message is clear: Romain has entered the final phase, the phase of acceptance. With a smile and a shaved head he walks towards his death.

For the observant viewer: Lou Reed’s song is neither in the film nor in the credits, but only in the trailer. Perhaps a shame, but a film like this also hits without a well-known title song. And besides, wouldn’t that be cliché?